Future of books in the age of the Web
by Caroline Michel
Books will confound all predictions and survive the electronic age in
much the same form in which they exist today and have existed for
hundreds of years.
Louis Lumiere, who gave the world its first cinema in 1895, declared
that "the cinema is an invention with no commercial future" and promptly
got out of the business.
Later, once Lumiere had been proved profoundly wrong, it was
predicted that movies would kill live theatre. So would radio. All three
were supposed to perish with the advent of television. TV itself was
going to be all but destroyed by video recorders. Recorded music - from
the gramophone to the iPod - has been repeatedly diagnosed as a virus
that will put an end to live performance. And, as we all know, the
internet spells Armageddon for everything.
Books hold a unique distinction in this pathetic history - they are
the only creative industry to be threatened with extinction by every one
of the others. This kind of doom-saying about publishing goes back to
Socrates, who predicted that the commercialisation of literature would
mean the end of conversation.
Today, the growth in new technologies has sent the Jeremiahs into
overdrive. The music industry has been struggling with the delivery of
online music ever since the first incarnation of Napster. The film
industry has been threatened by illegal online distribution of its
products. Book publishing has its very own potential Napster crisis in
the growing practice of book crossing - a free exchange of books tracked
on the internet. Google has announced plans to put online the contents
of some of the major libraries of the world.
The effects on sales of out-of-copyright books could be considerable.
Amazon is soon to launch "Search inside the Book" in the UK, which will
allow you to electronically riffle through millions of pages to find the
exact book you want to buy. These and other developments will, at the
very least, make the practice of reading books off a screen, rather than
on a page, more familiar.
But - like accounts of the demise of Mark Twain - reports of the
death of the creative industries have always been greatly exaggerated.
The response of related industries to technological change is
instructive. Napster has been reborn in a new legal form selling digital
music alongside Apple, Microsoft and others. More and more customers are
prepared to pay a small charge rather than find themselves on the wrong
side of the law.
Over the course of a decade, most consumers who were first baffled
and then amazed by new technologies are now demanding them as a right.
One possible outcome in publishing is that we will sell books in digital
form direct to consumers. For the industry, the computer revolution
offers great advances in distribution and delivery as well as
sophisticated marketing tools, demographic analyses and digitised
databases.
But despite state-of-the-art tools, marketing experts and retailers
can only tell you what people liked last time around. They cannot, and
never will, write a brief for the next bestseller.
As with our fellow creative industries, there have been criticisms
that we have become increasingly reliant on the blockbuster. In a recent
issue of the New Yorker, Louis Menand wrote, "Blockbuster dependence is
a disease. It sucks the talent and resources out of every other part of
the industry."
Blockbusters, however, are only a danger if they distract us from the
fact that tomorrow's bestsellers need our attention too. (Guardian
Newspapers Limited 2004) |